3. “Hello Dolly!” (1969) – Barbra Streisand and Walter Matthau starred in this colorful adaptation of David Merrick’s 1964 Broadway hit musical about a matchmaker in late 19th century New York. Gene Kelly directed.

4. “Bedknobs and Broomsticks” (1971) – Angela Landsbury and David Tomlinson starred in this entertaining adaptation of Mary Norton’s novels about a woman studying to become a witch, who takes in three London children evacuated to the country during World War II. Robert Stevenson directed.

5. “Grease” (1978) – John Travolta and Olivia Newton-Johns starred in this adaptation of Jim Jacobs and Warren Casey’s 1971 Broadway play about the lives of high-school students during their senior year in the late 1950s. Randal Kleiser directed.

6. “42nd Street” (1933) – Lloyd Bacon directed this musical about the preparation of a Broadway musical during the Great Depression. Warner Baxter, Bebe Daniels, Ruby Keeler and George Brent starred.

7. “Dreamgirls” (2006) – Bill Condon wrote and directed this adaptation of the 1981 Broadway musical about the travails of a female singing group from Detroit during the 1960s and 1970s. Jamie Foxx, Beyoncé Knowles, Oscar nominee Eddie Murphy and Oscar winner Jennifer Hudson starred.

8. “How to Succeed in Business Without Really Trying” (1967) – Robert Morse starred in this hilarious adaptation of the 1961 Broadway musical about an ambitious New York window washer using a “how-to” book to rise up the corporate ladder of a wicket company. David Swift wrote and directed the film.

9. “1776” (1972) – William Daniels, Howard Da Silva and Ken Howard starred in this entertaining adaptation of the 1969 Broadway musical about the creation and the signing of the Declaration of Independence. Peter H. Hunt directed.

10. “The Gay Divorcee” (1934) – Fred Astaire and Ginger Rogers starred in this adaptation of the 1932 Broadway musical, “The Gay Divorce” about an American woman who mistakes a song-and-dance man as the professional correspondent, who had been hired to help her get a divorce. Mark Sandrich directed.

When I first learned that “DREAMGIRLS”’ eight Academy Award nominations did not include one for Best Picture and a Best Director nod for Bill Condon, it had seemed pretty odd to me. The movie, based upon the 1981 Broadway musical, had already won plenty of accolades – including a Best Musical/Comedy Picture and two other Golden Globe awards. Was it possible that “DREAMGIRLS” had failed to live up to its hype?

During the mid-winter of 2007, several movie critics, including one for “The New York Times” had claimed that this might be the case. This critic and others went on to say that although “DREAMGIRLS” was a pretty good movie, it lacked the qualities to be considered as a nominee for Best Picture. Since I had yet to see “DREAMGIRLS” at the time, I wondered if my sister – who had highly recommended the movie – had exaggerated its good qualities.

Eventually, I finally saw “DREAMGIRLS”. And just last weekend, I I watched my DVD copy of the movie for the third time. Needless to say, I now feel that my sister had not exaggerated. The movie not only possessed a rich, in-depth look at the music industry for African-Americans in the 1960s and 70s, it can also boast fine performances and a very unusual direction.

The cast, which included Jamie Foxx, Beyonce Knowles, Eddie Murphy, Anika Noni Rose, Danny Glover and Jennifer Hudson. Foxx, Knowles and Glover all did competent jobs in their respective roles. I was especially surprised to see Foxx (usually seen in comedy roles and an Oscar winner for his portrayal of Ray Charles) portray villainous record producer Curtis Taylor Jr. in such a subtle, yet intimidating manner. Knowles proved that she can be a competent actress – especially in two scenes that feature her character’s (lead singer Deena Jones) growing resentment toward Taylor’s control over her career and life. It was good to see Glover in a substantial role again, after so many years. He was his usual competent self as the more conservative manager of Eddie Murphy’s character, James “Thunder” Early. Another character connected to the Early role was Lorrell Robinson, portrayed by Anika Noni Rose. I must admit that Rose’s portrayal of the young, star-struck Lorrell seemed a little hammy and unconvincing at first. Fortunately, her performance improved, as her character matured.

Two of the best things about “DREAMGIRLS” turned out to be the show-stopping performances of Eddie Murphy and Jennifer Hudson as R&B singer, James “Thunder” Early and the Dreams’ real talent Effie White. Not only did both performers win Golden Globe awards for Best Supporting Actor and Supporting Actress. Then Murphy went on to receive an Oscar nomination and Hudson won a Best Supporting Actress Oscar. Murphy bypassed his usual comedic performances to portray James Early, a R&B singer doomed to have his raw talent being slowly squeezed to death by Curtis Taylor’s ambition for acceptance by the white audience in 1960s/70s America. Not only did Murphy give a brilliant performance as the doomed Early, he also proved that he could be a knock-out musical talent. “DREAMGIRLS” must have seemed like sweet revenge for Chicago native, Jennifer Hudson. After being dismissed by “American Idol” judges halfway into competition, Hudson managed to win the role of Effie White, a talented and mercurial singer forced to deal with rejection by Taylor because of her “soulful” voice and physical appearance. Hudson’s show-stopping performance of “And I’m Telling You I’m Not Going” combined the best of her acting ability and magnificent voice, and may have possibly rivaled Jennifer Holliday’s performance of the same song in the Broadway version.

Not only did “And I’m Telling You I’m Not Going” beautifully showcased Jennifer Hudson’s talent, it also proved a theory of mine. I had once told a friend that singing in front of a live audience took more than simply holding a microphone and singing. To get the song across to the audience, the performer needed to act out the meaning behind the song through facial expressions and body language. Such expressions through song has been shown before on both the screen and stage, but Hudson took it to a level that left me breathless . . . and almost crying. Not only did the song’s lyrics expressed Effie White’s desperation to maintain Curtis Taylor’s love, but her facial expression and body language effectively did so, as well. I also have to commend Knowles, Foxx, Rose, Keith Robinson (who played Effie’s songwriter brother C.C.) and Sharon Leal (who played Effie’s replacement, Michelle Morris) for their performances in a scene in which they all express their frustration and resentment toward Effie’s volatile behavior. For a moment, I thought I was watching an operetta.

In fact, one felt the sense of watching an operetta, instead of the usual musical. Since the Astaire/Rogers series of the 1930s, movie musicals have perfected the art of movie dialogue seamlessly segueing in a song. In “DREAMGIRLS”, not only does the dialogue segue into song, but sometimes segue back into dialogue in the middle of a song. Or . . . two characters would end either do the following: 1) interrupt the dialogue with a few lines of song; or 2) switch back and forth between song and dialogue. This made “DREAMGIRLS” feel like no other movie musical I have ever seen and I have to commend director Bill Condon for creating this unusual style for any musical.

Now, I find myself back to thinking about the 2006 Academy Award nominations. Do I agree that those critics had believed that the Academy was right to withhold Best Picture and Best Director nominations for “DREAMGIRLS”? In the end, those critics are entitled to their own opinions. I had learned from another source that “DREAMGIRLS” had enough votes from the Academy members to receive a Best Picture nomination. But from my personal view, all I can say is . . .”What the hell had the Academy been thinking?”